Interested in learning more about the Cinema Studies major?

Explore CINE's winter term CORE ED courses below.
Cinema Studies offers many courses that are open to all majors and satisfy Core Ed requirements.

Already a Cinema Studies major?

Learn more about the interesting TOPICS courses offered winter term below.
Visit the course list page for the complete list of winter courses and how they satisfy the major.

Update 11-19-21: An updated Winter Term Production Course Schedule (A&B) is now available. The following production courses are available to review on the winter term course list: 
ARTD 256 Introduction to Production; CINE 270 Introduction to Narrative Cinema Production; and CINE 320 Beginning Screenwriting. 
Seats for these courses will open for registration today–Friday, Nov. 19th–at 3 pm. 

If you have any questions, please email the department at cinema@uoregon.edu or the MAE advisors at maeflightpath@uoregon.edu. Thank you for your patience!

Priority registration begins November 15, 2021

CINE 110M*: Intro to Film & Media > 1 (4 credits)
Monday/Wednesday, 8:00-9:50 a.m. 
Instructor TBD

People respond to movies in different ways, and there are many reasons for this. We have all stood in the lobby of a theater and heard conflicting opinions from people who have just seen the same film. Some loved it, some hated it, some found it just OK. Perhaps we've thought, "What do they know? Maybe they just don't get it." Disagreements and controversies, however, can reveal a great deal about the assumptions underlying these various responses. If we explore these assumptions, we can ask questions about how sound they are. Questioning our own assumptions, and those of others, is a good way to start thinking about movies. In this course, we will see that there are many productive ways of thinking about movies and many approaches we can use to analyze them. These approaches include the study of narrative structure, cinematic form, authorship, genre, stars, reception and categories of social identity. Overall, the goal of this course is to introduce you to the basic skills necessary for a critical knowledge of the movies as art and culture. This course will satisfy the Arts and Letters group requirement because it introduces students to modes of inquiry that have defined the discipline of film studies. These include such diverse approaches as studying narrative structure, authorship, genre, and reception. By requiring students to analyze and interpret examples of film and media using these approaches, the course will promote open inquiry into cinematic texts and contexts from a variety of perspectives. Previously taught as ENG 110; not repeatable. 

CINE 266: History of Motion Picture II: From 1927 to the 1960s >1 (4 credits)
ONLINE
Instructor:  Peter Alilunas

CINE 266 (previously ENG 266) is the second in a three-part chronological survey of the evolution of cinema as an institution and an art form. CINE 266 covers the post-World War II period through the 1950s. The primary texts for the course are the films themselves, but supplementary readings will also be assigned. The aim of the course is to develop interpretive skills relevant to the study of film by examining the history of major movements in Hollywood and world cinema. As a broad introduction to interpretive, theoretical, and institutional issues that are central to the study of film, CINE 266 satisfies the university's Group Requirement in the Arts and Letters category. The courses in motion picture history, CINE 265, 266, and 267 may be taken individually or as parts of an integrated series.  Previously taught as ENG 266; not repeatable.

CINE 268: U.S. Television History >1 (4 credits)
Monday/Wednesday, 2:00-3:50 p.m.
Instructor:  Erin Hanna

This Arts & Letters course analyzes the history of television, spanning from its roots in radio broadcasting to the latest developments in digital television. To assess the many changes across this historical period, the course addresses why the U.S. television industry developed as a commercial medium (compared to television industries across the globe), how television programming has both reflected and influenced cultural ideologies through the decades, and how historical patterns of television consumption have shifted due to new technologies and social changes. By studying the historical development of television and assessing the industrial, technological, political, aesthetic and cultural systems out of which they emerged, this course helps you better understand the catalysts responsible for shaping this highly influential medium into what you view today. In this process, students will gain a basic understanding of various approaches used to analyze television history, including industrial history, technological history, formal history, reception history, and social/cultural history.

CINE 350: Queer European Cinema >1 >GP >IP (4 credits)
Tuesday/Thursday, 2:00-3:50 p.m.
Instructor:  Sergio Rigoletto

The discipline of Cinema Studies—encompassing film, television, and new media—provides rigorous and multifaceted opportunities for students to analyze visual culture from a variety of perspectives. While this course will use gender and sexuality in European cinema and media as its scholarly focus, each class will necessarily utilize a range of critical approaches to analyze the material—including questions about culture, technology, industry, politics, finance, etc. The screening, analysis, and writing skills developed in this course will exercise and sharpen the critical thinking skills of all majors across the university while exposing them to a cinematic culture they may not have access to otherwise.

This course asks students to explore the construction and evolution of gender and sexuality in European cinema. To better contextualize the history of these representational traditions, the course begins with silent film and progresses towards contemporary representations of gender and sexuality in (mainstream) European media.

In this course, students will understand European Cinema in three key ways. First, they will learn how to understand representations of gender and sexuality using formal cinematic analysis. They will also contextualize such representations within a specific European culture and cinema. Finally, they will develop analytical writing about European film that considers: the role of actors/filmmakers in promoting or challenging certain ideas of gender and sexuality; how theoretical traditions—such as feminism, queer, gay liberation—have informed and critiqued the construction of gender and sexuality; and/or the social and political contexts within which representations of gender and sexuality have circulated.

As a Cinema Studies course, “Gender and Sexuality in European Cinema” satisfies the criteria for group status in Arts and Letters in that it incorporates a range of critical approaches to analyze its material—including questions about culture, technology, industry, politics, finance, etc. The screening, analysis, and writing skills developed in this course will exercise and sharpen the critical thinking skills of all majors across the university while exposing them to a cinematic culture they may not have access to otherwise. By focusing on gender and sexuality through European media, students will be able to think more globally about issues of representation while learning how national identities shape—and are shaped by—films, television, and new media in terms of gender and sexuality.

CINE 381M: Film, Media & Culture >1 >GP >IP (4 credits)
Monday/Wednesday, 10:00-11:50 a.m.
Instructor:  Allison McGuffie

This course studies works of film and media as aesthetic objects that engage with communities identified by class, gender, race, ethnicity, and sexuality. It considers both the effects of prejudice, intolerance and discrimination on media and filmmaking practices and modes of reception that promote cultural pluralism and tolerance. It historicizes traditions of representation in film and media and analyzes works of contemporary film and media to explore the impact and evolution of these practices. Classroom discussion will be organized around course readings, screenings and publicity (interviews, trailers, etc). Assignments will supplement these discussions by providing opportunities to develop critical /analytical /evaluative dialogues and essays about cinematic representation. CINE 381M satisfies the Arts and Letters group requirement by actively engaging students in the ways the discipline of film and media studies has been shaped by the study of a broad range of identity categories, including gender, sexuality, race, ethnicity, and class. By requiring students to analyze and interpret cinematic representation from these perspectives, the course will promote an understanding of film as an art form that exists in relation to its various social contexts. CINE 381M also satisfies the Identity, Pluralism, and Tolerance multicultural requirement by enabling students to develop scholarly insight into the construction of collective identities in the mass media forms of film and television. It will study the effects of prejudice, intolerance and discrimination on mainstream media. Students will study the ways representational conventions, such as stereotypes, have resulted from filmmaking traditions that have excluded voices from varying social and cultural standpoints. The course will also consider filmmaking practices and modes of reception that promote cultural pluralism and tolerance. Previously taught as ENG 381; not repeatable.

CINE 440: Top Transnational Asian Film >GP >IC (4 Credits)
Monday/Wednesday, 12:00-1:50 p.m.
Instructor:  HyeRyoung Ok

This course explores border crossing in the Asia Pacific across a diverse range of popular media – film, television, animation, pop music, gaming and new media. Particularly, we will be focusing on films and popular media from East Asian countries. Throughout history, the major East Asian cinemas and popular media of Japan, China (Hong Kong, P.R.C.,Taiwan), and South Korea have long engaged in intra-regional and transnational exchanges—of personnel, capital, and influence. Shared cultural values, intertwined histories, and new communication technologies have led to what is called as Trans-Asian cinema and popular culture. First of all, we will examine the diverse aspects of transnational dynamics in the production, circulation, and reception of popular films and media from East Asia since the mid twentieth century. But we will also explore their links to popular media of Southeast Asia (here, Thailand, the Philippines and Singapore) and the wider context of the Asia Pacific. A closer examination of transnational dimensions will illuminate the complex and heterogeneous ways in which the concept of ‘national cinema and media’ is challenged and the relationship between the global and the local is reconfigured.

CINE 399: Sp St Cult TV (4 credits)
Monday/Wednesday, 10:00-11:50 a.m.
Instructor:  Erin Hanna

This class examines the history, production, and consumption of cult TV, drawing on examples from network era programming through to the current surge in “quality” television production. Historically, the term “cult” has been used to describe media objects attracting a passionate and devoted fan-base, often outside of the mainstream. In recent years, however, this cult mode of engagement has become an increasingly visible and widely accepted part of television and production and consumption. This class will explore these changing definitions by considering how cult television functions textually, industrially, and culturally, across a variety of historical and social contexts.

CINE 399: Sp St U.S. Indie Cinema (4 credits)
Tuesday/Thursday, 10:00-11:50 a.m.
Insturctor:  Daniel Steinhart

\What is “independent” cinema? This course explores what independent cinema means through a study of the art and industry of contemporary indie film in the United States. After establishing the historical precedent of independent production, we survey a range of work, starting from the “Sundance-Miramax” era of the 1990s to the present day, as indie filmmakers are increasingly moving into cable and streaming TV. Along the way, we consider how independent cinema has served as both an alternative to Hollywood and a subdivision of it in terms of production, distribution, and exhibition. We examine key filmmakers and movie companies, as well as organizations such as the Sundance Institute. We also study the innovations that indie filmmakers have brought to storytelling, style, and representation. Ultimately, students will gain a better understanding of how independent cinema works by combining industrial, cultural, and aesthetic perspectives.

CINE 399: Sp St Middle Eastern Cinema (4 credits)
Monday/Wednesday, 2:00-3:50 p.m.
Instructor:  Ahmad Nadalizadeh

This course will investigate various film cultures of the Middle East and will situate its national traditions within regional and global perspectives. Taking a critical approach to national cinema studies in a world of increasingly globalized film audiences, we will explore both the influence of world cinema on the Middle East film cultures and, in turn, the extent to which the aesthetics of the Middle East cinema is integral to our conception of world cinema. Our discussion of films in class will be supplemented by pertinent scholarly analyses in order to complicate any facile understanding of the Middle East, but also to deepen our awareness of the cultural contexts through which cinema has emerged as an aesthetic form. Drawing on various national traditions, this course will include films from Iran, Turkey, Palestine, Lebanon, and Egypt.

CINE 399: Sp St South Park & Society (4 credits)
Tuesday/Thursday, 12:00-1:50 p.m.
Instructor:  André Sirois

This class uses the animated cartoon as the launch point for understanding the representation of social issues in the media and critical cultural and social theories. In this course we will examine how South Park has represented or parodied labor/class, race, religion, capitalism, the media, gender, sexuality, patriotism, politics/democracy, celebrity, censorship, PC culture, etc. Because each episode was made the week before it was aired, we will also use the cartoon to examine the specific historical moment and social issues of that time in order to better understand the significance of each episode and its social critique.